Music Reviews

Songs for Swingin’ Lovers is the second in Blue Note’s Tone Poet series of new vinyl remasterings that I hope will eventually include all sixteen concept albums for Capitol Records that Frank Sinatra recorded between 1953 and 1962. His fourth album[1] after signing with the label in 1953, it followed Songs for Young Lovers and Swing Easy! (both 1954) and In the Wee Small Hours (1955). Like Wee Small Hours, it became a landmark in Sinatra’s career as entertainer,... Read More

In collaboration with The Vinyl Factory, OJAS Music aims to bring a new kind of music into your listening room: minimalist, experimental, neo-classical and truly audiophile. The Deep Listen. It's punching all the buzzword buttons, but how does this first release stack up?

Includes a brief survey of early and notable works combining acoustic instruments with taped and live electronics, and recorded/sampled elements - similar to procedures used on this album.

Also includes details of upcoming live shows by Michael A. Muller, including at Common Wave Hi-Fi in Los Angeles this Thursday, April 2nd.

Throughout the past few years here at the Tracking Angle, Mark, Paul, and myself have covered a wide breadth of the audiophile classical reissues coming to the market. Inevitably, a few of them have drawn comparisons to what we often claim are the gold standards of orchestral recording: RCA "Living Stereo". When you think about “Audiophile Classical”, these records are what spring to mind thanks to the legacy of writers such as Harry Pearson and Sid Marks.... Read More

A buddy of mine sent me “Trinidad” when it leaked last summer. I should’ve loved it. There’s feedback, there are horns. And there’s this kid who sounds like a trombone waking up in the morning. Cameron Winter’s voice is a wiley, unpredictable instrument. Who – or what – is responsible for this? Having Television, Radiohead, and Ween on the same iPod as a thirteen-year-old? It’s either an instant turn-off or a temporary one. I tapped out after a minute-and-a-half.

Before getting to the music, here are the mysteries: the first is that though the insert shows the Ampex 499 master tape box in full sized glory with an orange sticker indicating it was baked on July 24th 2017 (as best as I can make the date out) and the 30IPS tapes are fully assembled side A and B reels, this reissue was cut from a high resolution digital file. Why? The Capitol "UDiscovermusic" website says that all records in the Vinylphyle series are cut... Read More

Ozzy Osbourne’s departure from Black Sabbath in 1979 was a catastrophic event for any metalhead. It was a long time coming, between his excessive drug/alcohol abuse and a growing disinterest in the group’s material. Ronnie James Dio, who had just fronted the first three albums of Ritchie Blackmore’s Rainbow, became the next and second-highest-regarded vocalist for the godfathers of metal. Whereas Osbourne simply followed the melody of Tony Iommi’s guitar riffs, Dio’s... Read More

A defining musical moment for me was sitting down with high school friends after hitting Blockbuster and watching Scorsese's concert epic "The Last Waltz." Of course, my favorite moment was witnessing a visibly gacked out Neil Young amble onto the stage and slide into "Helpless" and watching Danko and Robertson searching the skies for those birds flying across the sky. But when Joni appears, she is truly resplendent cradling a beautiful old... Read More

Hailing from the Great White Northern city of Toronto, Rush was one of those bands that never grandfathered themselves into one specific style. Whether it was the ‘Canadian Zeppelin’ aesthetic of their early years, crafting side-long progressive epics well into the ‘70s, or streamlining into the ‘80s with more commercial approaches, the group grew alongside their devoted audience. By 1984, the indicators of Rush’s musical evolution became more radical. Synthesizers... Read More

You license a title at 45rpm (because that's what's offered) and then the licensor releases it at 33 1/3 around the same time. These things happen. And they happen with greater frequency now. Now that vinyl has become a "thing". There was a time that the labels really didn't care much about the format and freely licensed titles to the reissue labels like Classic Records, Acoustic Sounds and the others. And they let the tapes out of the vaults.... Read More

Like its namesake, it appears that the movie "Abandoned Heights" will also be abandoned or already has been. It's been listed as being in "pre-production" on IMDB since 2022, but no matter! If Jack Bruce could write a "Theme for an Imaginary Western", it's not a problem for John McLaughlin to write an entire film score for a movie he's never seen and perhaps will never will see. Usually film scores are written to picture,... Read More

For any readers who are pressed for time - buy this record. The only category of readers who should think twice are ‘people who do not like Autechre’, and the parallel category of ‘people who do not like acoustic guitar music’, because Autechre Guitar is precisely that, nothing more, nothing less. If you have no money right now, begin saving, otherwise, buy this now. If you have a few moments, and you would like to know why you should own this remarkable LP - read... Read More

It's been almost forty years since the late summer of 1988 release of this ethereal, ambient/experimental studio creation—the follow up to Talk Talk's two million seller The Colour of Spring—that flopped commercially but resulted in an almost cult-like following of fans who for decades have spread the word about its intense, almost hypnotically musical powers. The Colour of Spring's commercial success gave the group's leader Mark Hollis the... Read More

If you'd told me my original Artisan Sound mastered Pitman pressing was up on Discogs for around $700, I'd not believe you until I looked to confirm. But it is. Not that anyone will ever buy it for such a price, but still! After listening to the new KG mastered Rhino High Fidelity reissue, I have to ask "why"? Why would you pay that much for a record that sounds distant and from the wide open spaces when you could have this for $40 bucks and with... Read More

Two years ago in this space, I reviewed an album by Kahil El’Zabar’s Ethnic Heritage Ensemble, Open Me, a Higher Consciousness of Sound and Spirit. It was, and is, a terrific album (I scored it 9 for music, 11 for sound) by an all-too-neglected composer-arranger-percussionist who’s been active for a half century and still having a merry, spiritually rich time of it.Now comes a follow-up of sorts, Let the Spirit Out, on the same label (Spiritmuse Records, based in... Read More

If you’ve bought a Morrissey ticket anytime since 2012, there’s statistically a 30% chance he will cancel the show, often with little notice. This could be for any number of reasons: he’s sick or exhausted, or the venue didn’t meet his list of demands (such as removing all meat products from the premises), or he somehow has financial difficulties getting there (even when the show has sold well), or he just doesn’t feel like performing and would rather sit at the hotel... Read More

MQA is a plot to take over and ruin your music and make the devious and power hungry villain Bob Stuart wealthy. Maybe run the world. The reaction to MQA borders on that level of hysteria and for now it's kind of shut down or on hiatus (Lenbrook owns it) but the first demo of it I heard at a CES some years ago was unforgettable and made me a believer even if a later demo I attended with Rick Rubin made him a skeptic or worse and that surprised me.Keith... Read More

Tracking Angle welcomes veteran music journalist Wayne Robins. I met Wayne last November through our mutual friend Frank Doris at the Technica House preview of "Studio Confidential" . A few months later this David Forman album arrived and included in Joe Hagan's eye popping annotation was an advertisement for Forman's first album that unlike this one, was released. Wayne Robins' quote was one of the three in the ad, so who better to review this first issue than Robins? Read on! Robins' nimble story telling about the history of this record will drop the proverbial jaw.

Johnny Cash's recording career begins here in Sam Phillips' Sun Studios on this record originally released October, 1957 and ends with his American Recordings series of six albums produced by Rick Rubin between 1994 and 2010. This one featuring "I Walk the Line" and "Folsom Prison Blues" and the Rubin produced albums, are essential. In between were recordings and performances of varying quality on Columbia and Mercury. If you're only... Read More